But the stage–dubbed McCurdy’s “New Napkin” Stage”, in homage to one of its designers and the medium on which it was designed–was built in Plymouth and it needed to commute to Whitinsville in time for the Companys’ first performance.

The Riverside Piazza is the framed by the Whitinsville Mill and the nice folks at Alternatives. It’s an ideal setting for a play. Many of the company’s actors were there to help us. This was not a rehearsal.

Artistic director and actor Mel Cobb and Chris Gates, production manager, were also there to meet us. Mr. Burrey, an accomplished playa himself, would brook no idleness among the thespians, and immediately set them a-work.

Truthfully, the actors were VERY helpful and gracious in their helping. After all, how many actors get to help build, then perform on a stage plucked from the Elizabethan era? I imagine it would be like playing an exact replica Mozart’s violin…or something like that.

Once the supporting timbers were fit, trenails followed. Each actor had a turn driving an oak pin to hold fast the joint:

Including Mel himself, who seemed all-too-comfortable with mallet in hand:

There are rumors of Mel having had a bit part in the original Hawaii 5-O.

Joists and floorboards made their entrance, stage right:

The posts followed. Chris was a natural using the beetle:

There are rumors that Chris used to drive tent stakes for the circus…

As the shadows drew longer, the actors went to rehearse. We wound the day down by setting lintels between the posts and attaching a temporary set of stairs.

The company returned, ready to take this stage for a spin in its new home. Mel put the day’s work in context, reminding the players of their “ownership” and stewardship of the stage and of the unique opportunity it presented them. At Mel’s behest, the actors took a stroll around the stage in a circle for a few moments. I could only imagine it helped them “hear” and feel the floorboards and frame. It seemed almost a form of meditation.

actually should have said that we did the courtroom scene, not the entire play, but I would never have cast me as Portia but Sister Ignatius thought I could do it–God Bless her–she taught a not very well educated French-Canadian high-school kid the ropes of the King’s Queen’s and America’s lingua franca.